Teori, kaidah, dan aturan seni fotografi konvensional yang sering meng­ganggu gerak dalam berekspresi didobrak Rahardi Ramelan. Mantan Ketua Umum Asosiasi Photographer Profesional Indonesia (APPI) ini, yang pernah belajar fotografi di Darwis Triadi School of Photography dan  seni lukis di School of Museum of Fine Art, Boston, Amerika Serikat, menciptakan karya bercorak pribadi. Bukan saja ia  memilih obyek yang tak lazim, namun berhasil membuktikan tetap mampu berkarya meski dalam keterbatasan peralatan, gerak, dan kesempatan.

Selain impresi bentuk, pola-pola abstrak yang ia tangkap lewat komposisi aneh, tak terduga, dan indah pun sekaligus memberikan nilai kejut; foto-foto yang tersaji seperti mengungkap elemen-elemen dasar seni abstrak. Adanya garis, irama, komposisi, dan pusat perhatian, juga tersajikan dengan apik.

Rahardi mengajarkan pada kita bahwa seorang fotografer tidak mesti se­orang yang bekerja dengan kamera canggih dan profesional. Seorang fotografer juga bukan  mesin fotokopi yang serba mekanis. Ia sudah seharusnya mampu meneruskan cita rasa estetikanya melalui kamera. Dari balik terali, saat ia menjadi narapidana, Rahardi menciptakan sebuah estetika fotografi yang sesuai dengan langgam bahasa ekspansi pribadinya. Setetes Seni dari Balik Terali seperti ingin mengatakan bahwa fotografi tidak bisa dibelenggu. Juga tidak bisa dipenjara.
 
This book shows how Rahardi Ramelan omits conventional theory in photo­graphy that usually limits the expression of art. The former chairman of APPI (Association of Indonesian Professional Photography), who learned photography at Darwis Triadi School of Photography and painting in School of Museum of Fine Art, Boston, United States, created his own personal style of photography. With limited tools and chances he shot uncommon objects.

His work captured every abstract patterns through weird, unpredictable, yet beautiful composition which add an element of surprise. It revealed basic elements of abstract arts. The existence of lines, colors, and its focus are also well-presented.

For Ramelan, a photographer is neither one who works with sophisticated and professional camera, nor a copy machine that works mechanically. A photographer is someone who should be able to translate his aesthetic taste through a camera. From behind his prison bars, Ramelan created a new aesthetic point of view in photography which comes in harmony with the language tone of his personal expansion. A Drop of Art from Behind the Bar wants to acknowledge that photography cannot be imprisoned.